'Ellen Terry as Lady Macbeth', John Singer Sargent, 1889 | Tate Ellen Terry as Lady Macbeth Ellen Terry as Lady Macbeth 1889 Support: 2210 x 1143 mm frame: 2500 x 1434 x 105 mm Collection Presented by Sir Joseph Duveen 1906 Reference Catalogue entry Display caption The famous actress, Dame Ellen Terry (1847-1928), is shown here in the role of Lady Macbeth. At the first performance in 1888, Sargent was struck by Terry's appearance and persuaded her to sit for a portrait . He invented her dramatic pose, which did not occur in the production.

Oscar Wilde, who saw Terry's arrival at Sargent's Chelsea studio, remarked, 'The street that on a wet and dreary morning has vouchsafed the vision of Lady Macbeth in full regalia magnificently seated in a four-wheeler can never again be as other streets: it must always be full of wonderful possibilities.' Gallery label, August 2004 N02053 ELLEN TERRY AS LADY MACBETH 1888–9 Inscr. ‘John S. Sargent’b.l. Canvas, 87×45 (221×114·5); painted strips 6 3/4 (16·5), 3 (7·5), 4 (10) and 2 1/4 (6) turned over top, right, left and bottom edges respectively. Presented by Sir Joseph Duveen (the elder) 1906. Coll: Purchased from the artist by Sir Henry Irving; sold Christie's, 16 December 1905 (144), bt. Wyatt for Duveen.

Exh: New Gallery, summer 1889 (110); Société Nationale des Beaux-Arts, Paris, 1890 (810); World's Columbian Exhibition, Chicago, 1893 (United States Section); 26th Autumn Exhibition, Liverpool, August–December 1896 (891); Dramatic and Musical Art, International Society, 1897 (124). Lit: Art Journal, 1889, p.191, and 1907, p.79, repr. p.80; William Walton, World's Columbian Exposition, Art and Architecture: The Art, 1893, I, p.16, repr. facing p.5; Downes, 1925, pp.27, 48, 151–2; Charteris, 1927, pp.100–1, 137, 223, 261; E.

Craig and Christopher St John (ed.), Ellen Terry's Memoirs, 1933, pp.233–4, 245, 247–8; Mount, 1955, pp.142–7, 413, 432; McKibbin, 1956, p.126; Mount, 1957, pp.121–4, 340. Repr: Wood, n.d., facing p.22 (in colour); Pousette-Dart, 1924, n.p.; Manson and Meynell, 1927, n.p. Dame Alice Ellen Terry (1847–1928), actress and third daughter of a well-known family of actors, is shown here in her famous part of Lady Macbeth, which she played in Sir Henry Irving's new production of Macbeth at the Lyceum Theatre, London, with Irving in the title role. Sargent was present at the first performance, 29 December 1888, and was immediately struck by the actress's appearance on the stage.

Miss Terry was reluctant to sit for her portrait until the play's success was more assured, but sittings seem to have begun very soon after the first night, as Sargent, writing to Mrs Gardner 1 January 1889, recounts how bad light impeded progress on the portrait. However, it was finished in time for the summer exhibition at the New Gallery that same year. The artist has invented a pose which shows Lady Macbeth about to place the royal crown of Duncan on her head. This incident does not occur in the play, nor has a study of the actress's prompt-books for Macbeth provided evidence that it was a dramatic invention on the part of Irving. The sitter's daughter, Miss Edith Craig, thought it a pity that such a misleading pose should have been adopted.

(Information supplied by Miss Olive Chaplin, Curator of the Ellen Terry Memorial Museum.) The gold-embroidered green dress worn by Lady Macbeth was designed by Mrs Comyns Carr and made by Mrs Nettleship, and in a long notice of the play printed in The Times, 31 December 1888, a critic wrote of Ellen Terry's unusually tender interpretation of the part that ‘her matted red hair, hanging in long tresses, and her ruddy cheeks mark her as a raw-boned daughter of the North and she wears an appropriate dress of garish green stuff embroidered with gold. There is nothing of the martial or adventurous spirit in her composition to bring her into harmony with her barbarous surroundings’ (quoted by W. Moelwyn Merchant, Shakespeare and the Artist, 1959, p.139). The Tate portrait, which Ellen Terry described in her Memoirs as the sensation of the year (1889), was bought by Irving for the Beefsteak Room of the Lyceum Theatre, where it hung in an alcove.

Before the picture was finished Burne-Jones, who greatly admired the work, suggested one or two alterations in the colouring, which Sargent immediately adopted (Ellen Terry's Memoirs, 1933, pp.234, 245). There is a grisaille sketch in the National Portrait Gallery (NPG2273, 33 1/2×28 in.) showing Lady Macbeth at the entrance to the Keep, ready to greet King Duncan. A pencil sketch (21 1/2×16 1/2 in.), done in 1906 for Ellen Terry's Jubilee Programme, belongs to the Ellen Terry Memorial Museum, Smallhythe, Kent. Published in: Mary Chamot, Dennis Farr and Martin Butlin, The Modern British Paintings, Drawings and Sculpture, London 1964, II "Ellen Terry as Lady Macbeth" - Masterworks by John Singer Sargent - Pictures - CBS News Masterworks by John Singer Sargent Next "An Out-of-Doors Study" The artist John Singer Sargent (1856-1925) defied labels.

A man who lived more than half his life in England, but always considered himself American, he was the go-to portrait painter of his day, but eventually lost interest in the grand paintings that made his name, preferring informal renderings of people he liked. Singer's extraordinary paintings and sketches were featured in a recent exhibition at New York's Metropolitan Museum of Art, "John Singer Sargent: Portraits of Artists and Friends." Pictured: Sargent's Impressionistic "An Out-of-Doors Study" (1889), featuring artist Paul Helleu with his wife, Alice. Oil on canvas. By CBSNews.com senior producer David Morgan Credit: Brooklyn Museum "Self Portrait" "Self-Portrait," 1906, by John Singer Sargent. Oil on canvas. John Singer Sargent was born in 1856 in Florence, Italy, to American parents, and he spent his early childhood growing up in Europe. "He grows up in a really kind of cultured world," said Stephanie Herdrich, co-curator of the Met's show. "[He's] exposed to many different cities, towns, museums. He grows up to be fluent in English, Spanish, French, Italian. He speaks German.

He's a very talented musician in his own right, playing the piano." Credit: Instituti museali della Soprintendenza Speciale per il Polo Museale Fiorentino. Galleria degli Uffizi. "Dr. Pozzi at Home" Pictured: "Dr. Pozzi at Home" (1881), Sargent's portrait of the Parisian gynecologist and playboy. Oil on canvas. Sargent cultivated commissions from the rich and famous of the Gilded Age, and became famous himself for his luscious, flattering, society portraits, which is exactly what critics often held against him. "For a very long time he was defined by his commissioned works, and he was defined by the people he painted. And I think that was very unfair," said co-curator Betsy Kornhauser, who believes the artist's reputation is undergoing a radical re-evaluation. "John Singer Sargent, beyond being the most talented and celebrated portrait painter of his day, I think looking back in time, we could say that he was one of the greatest artists of all time," she said.

Credit: The Armand Hammer Collection, Hammer Museum, Los Angeles Carolus-Duran "Carolus-Duran," 1879, by John Singer Sargent. Oil on canvas. An artist who was highly influential as Sargent's teacher in Paris, Carolus-Duran also produced portraits of society figures. Credit: © Sterling and Francine Clark Art Institute/Michael Agee Paul Helleu Sargent didn't feel the need to flatter in his intimate portraits. "He could go deeper and pull out really profound character traits and very often reveal his feelings about the person," said Kornhauser. Pictured: "Paul Helleu," early 1880s, by John Singer Sargent. Graphite on off-white paper board. Credit: © The Metropolitan Museum of Art, New York Pailleron Children "Pailleron Children," 1880, by John Singer Sargent. Oil on canvas. Sargent's first double-portrait was of Eduoard and Marie-Louise Pailleron, children of playwright Eduoard Pailleron. The young girl later said she endured 83 sittings to produce the intense, ambiguous portrait.

Credit: Des Moines Art Center Permanent Collections Vernon Lee "Vernon Lee," 1881, by John Singer Sargent. Oil on canvas. Writer, art historian, feminist and pacifist Violet Paget, who went by the pen name Vernon Lee. A deeply private person, she objected to her publisher using either photographs or this Sargent portrait to illustrate her publications. Credit: © Tate, London "Madame X" Her name was Virginie Gautreau, a New Orleans-born Parisian socialite. But Sargent's suggestive portrait of her as "Madame X" created a scandal. "In the original version, he accentuated her sensuality even more by dropping the strap off her right shoulder," said co-curator Betsy Kornhauser told CBS News' Martha Teichner. "He decided to paint it back, and he would keep the painting for the rest of his life until he finally offered it to the Metropolitan Museum of Art." Credit: © The Metropolitan Museum of Art, New York "Madame X" "Madame X (Madame Pierre Gautreau)," 1883-84, by John Singer Sargent. Oil on canvas.

In 1907, Sargent stated that he felt it was his finest work. Credit: © The Metropolitan Museum of Art, New York "Garden Study of the Vickers Children" "Garden Study of the Vickers Children," 1884, by John Singer Sargent. Oil on canvas. Sargent tilted the view of this portrait downwards, with a scale that shows lilies exceedingly tall compared to Billy and Dorothy, ages five and six. Credit: Flint Institute of Arts "Robert Louis Stevenson and His Wife" "Robert Louis Stevenson and His Wife," 1885, by John Singer Sargent. Oil on canvas. This eccentric portrait, painted at the novelist's house in Bournemouth, Dorset, presents Stevenson in a manner characteristic to him - walking and talking - while his wife, Fanny, is pictured on the periphery. Stevenson described his wife "looking like a ghost" in the finished work. "All this is touched in lovely, with that witty touch of Sargent's; but of course it looks dam queer as a whole." Credit: © Crystal Bridges, Museum of American Art, Bentonville, Ark.

"Carnation, Lily, Lily, Rose" "Carnation, Lily, Lily, Rose" (1885-86) by John Singer Sargent. Oil on canvas. French artists heavily influenced Sargent's vision of children lighting paper lanterns, though the setting also recalled English Pre-Raphaelite artworks. Credit: Sargent, John Singer, Tate, / Tate Images Claude Monet "Claude Monet Painting by the Edge of a Wood," 1885, by John Singer Sargent. Oil on canvas. This painting shows the French Impressionist, whom Sargent revered, seated on his artist's stool in the open air, working on a painting (Meadow With Haystacks Near Giverny) that is now in the Museum of Fine Arts, Boston. "It's a pure Impressionist palette," said Kornhauser. "And this was precisely what Sargent was attempting to absorb and embrace at this time." Credit: © Tate, London "The Birthday Party" "The Birthday Party," 1887, by John Singer Sargent. Oil on canvas. French artists Albert Besnard and his wife, sculptor Charlotte Dubray, celebrate the birthday of their child, Robert.

The Oriental decorations of their room are accentuated by the highlights from the candles. Credit: Lent by the Minneapolis Institute of Arts, the Ethel Morrison Van Derlip Fund and the John R. Van Derlip Fund "Ellen Terry as Lady Macbeth" "Ellen Terry as Lady Macbeth," 1889, by John Singer Sargent. Oil on canvas. The acclaimed actress is portrayed in a pose she did not actually perform in Henry Irving's production of the Scottish Play, but which captured her magnificent air. Credit: Tate, London "La Carmencita" "La Carmencita," c. 1890, by John Singer Sargent. Oil on canvas. A theatrical portrait of the famed Spanish dancer. Not surprisingly, La Carmencita was a restless portrait subject. Sargent did sketches of her expressing the movement of dance, but chose to portray her stationary - hand on hip, with one leg extended, her face like a Japanese mask. Credit: RMN - Grand Palais (Musée d'Orsay)/Gérard Blot Edwin Booth "Edwin Booth," 1890, by John Singer Sargent. Oil on canvas.

A dramatically-lit portrait of the renowned Shakespearean actor, gazing hauntingly in a pose reminiscent of his stage performances. Booth initially disparaged of his appearance, prompting Sargent to paint out the head and start over. Credit: Amon Carter Museum of American Art, Fort Worth, Texas Ada Rehan "Ada Rehan," 1894-95, by John Singer Sargent. Oil on canvas. Sargent's portrait of the Irish-born actress captures her stage presence and physical beauty. Credit: © The Metropolitan Museum of Art, New York Mrs George Batten "Mrs. George Batten," 1897, by John Singer Sargent. Oil on canvas. An amateur mezzo-soprano and musician, Batten lived life to the fullest - one observer noted she was "gay, fond of pleasure, quite depraved, but tinged too with romance." Credit: Lent by Glasgow Life (Glasgow Museums) on behalf of Glasgow City Council "An Interior in Venice" "An Interior in Venice (The Curtis Family)," 1899, by John Singer Sargent. Oil on canvas.

Ex-pats in Venice: Boston-born David Sargent Curtis (a distant cousin of Sargent), and his wife, Ariana, are pictured in their 17th century Palazzo Barbaro, which was frequented by such visitors as Henry James and Claude Monet. In the background are Curtis' son and Sargent's friend, Ralph Wormley Curtis, and his wife, Lisa de Wolfe Colt Curtis. Ariana Curtis turned down the painting when Sargent offered it as a gift; her son's relaxed pose and her own flushed complexion offended her sense of decorum. Credit: © Royal Academy of Arts, London. Photo: Prudence Cuming Associates Ltd. "Group with Parasols" "Group with Parasols," c. 1904-05, by John Singer Sargent. Oil on canvas. Four of the artists's friends are pictured taking a siesta in an Alpine meadow. Credit: Private Collection The Fountain, Villa Torlonia, Frascati, Italy "The Fountain, Villa Torlonia, Frascati, Italy," 1907, by John Singer Sargent. Oil on canvas.

Artist Jane de Glehn works under the watchful eye of her husband and fellow artist, Wilfred de Glehn. Sargent asked Wilfred to introduce an air of indolence in the intimate setting, which draws the two artists together. Credit: Art Institute of Chicago, Friends of American Art Collection William Butler Yeats "W.B. Yeats," 1908, by John Singer Sargent. Charcoal on paper. A commissioned drawing, for use in a collection of the poet's works published in 1908. Credit: Private Collection, Cambridge, Mass. "In the Generalife" "In the Generalife," 1912, by John Singer Sargent. Watercolor, wax crayon, and graphite on white wove paper. Sargent painted his sister, Emily, sketching at the Moorish gardens of Granada, Spain, accompanied by friends Jane de Glehn and Dolores. Emily's features are blurred, unlike those of her two watchful companions, suggesting her own movement and (as one viewer noted) "the throbbing sense of life." Credit: © The Metropolitan Museum of Art, New York Henry James "Henry James," 1913, by John Singer Sargent.

Oil on canvas. A portrait commissioned in honor of the author's 70th birthday. It came at a time when Sargent had halted painting portraits, yet the image of his friend carries an air of the enigmatic. James was pleased: "Sargent at his very best and poor old H.J. not at his worst; in short, a living breathing likeness and a masterpiece of painting" was his summation. For more info: Ellen Terry as Lady Macbeth - John Singer Sargent Paintings Ellen Terry as Lady Macbeth We offer original aspect ratio sizes Price 36 X 72 in $600.95 If listed sizes are not in proportion to the original, don't worry, just choose which size is similar to what you want, we can offer oil paintings in a suitable size, painted in proportion to the original. If you would like the standard size, please let us know. Need a Custom Size? 1889 Tate Britain , England. Why settle for a paper print when you can add sophistication to your rooms with a high quality 100% hand-painted oil painting on canvas at wholesale price? Order this beautiful oil painting today! that's a great way to impress friends, neighbors and clients alike.

100% hand-painted oil painting on artist grade canvas. No printing or digital imaging techniques are used. In stock items ship immediately, usually ships in 3 to 10 days. $12.95 shipping charge for small size (e.g., size <= 20 x 24 in). The cheapest shipping rate from DHL, UPS, USPS, etc. Canvas stretched on wood bars for free. - Need special frame for oil painting? Please contact us. Send you a digital copy via email for your approval before shipping. 45-day Satisfaction Guaranteed and 100% Satisfaction Guaranteed. Add Ellen Terry as Lady Macbeth to Your Privete Lists You are not signed in. Select here to add this item to your default List. To create a new List, use the "new Wish List" option below. Default List Data successfully added to your Wish List ! Be the first to critique this painting . Critique this Painting Your critique is viewable immediately by the public. Your Nickname: PaintingMania.com reserves the right to edit or remove inappropriate critiques. Other paintings by John Singer Sargent: Elizabeth Garrett Anderson more... John Singer Sargent was a painter especially known for his fine portraits.

He is usually considered an American artist, although he spent most of his life in Europe. Sargent was born in Florence, Italy to USA parents. He studied in Italy and Germany, and then in Paris under Carolus Duran. His portraits are remarkable for subtly capturing the individuality and personality of the sitters; his most ardent admirers think he is equaled in this only by Velázquez. Sargent's Portrait of Madame X (Madame Pierre Gautreau), done in 1884, is now considered one of his finest works, but it aroused so much negative reaction in Paris at the time that it prompted Sargent to move to London. Although Sargent spent less than one year in the United States, some of his finest work is there, especially his decorations for the Boston Public Library. Sargent is usually not considered an impressionist, but he sometimes used impressionistic techniques to great effect, and his Claude Monet Painting at the Edge of a Wood is beautifully rendered in an impressionist style. Around 1910 Sargent largely abandoned portraits, focusing mostly on landscapes in his later years.

In an era when the mainstream of art was focused on Impressionism and emphasizing artistic individuality, Sargent emphasized his own form of Realism and regularly worked doing commissioned portraits of the rich. This caused him to be dismissed as an anachronism at the time, but appreciation of him as a great artist has grown since his death. YOUR BROWSING HISTORY Ellen Terry as Lady Macbeth 1889 - John Singer Sargent - oil painting reproduction Ellen Terry as Lady Macbeth 1889 - Sargent, John Singer (American 1856-1925) Impressionist artist. Title: 87 x 45 inches (220.98 x 114.30 cm) Item No: 100% Handmade Oil Painting on Canvas. Shipping: Finish and send in 2 to 3 weeks 100% Hand Painted Fine Oil Painting Reproduction No printing or digital imaging techniques are used. " John Singer Sargent's Ellen Terry as Lady Macbeth 1889 " will be hand painted by our professional and experienced artist on real artist's canvas in the traditional way the real artist would paint.

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Any Size is possible: custom size or original size or aspect ratio size all are conceivable. Any Photo is welcome: If you have another image of this painting that you would like our artist to work from, please send it to us. Changement is no problem: Sometimes, customers want to make a small adjustment on masterpiece to creat a new painting by using their own idea. It is also OK with us, just email us with your design, we can transfer it on canvas. Please let's know - Email . Ellen Terry as Lady Macbeth, Sargent (1889) | Education | The Guardian Ellen Terry as Lady Macbeth, Sargent (1889) Saturday 12 January 2002 15.46 EST First published on Saturday 12 January 2002 15.46 EST · View the work online Artist: John Singer Sargent (1856-1925), born in Florence to American parents and, following a Parisian training, active mainly in Britain, was the attentive yet sly recorder of a late Victorian and Edwardian glamour that was to vanish in 1914.

Sargent also recorded its end in Gassed (Imperial War Museum). A vision of blinded soldiers walking across an eerily illuminated landscape, Gassed could not be further from the extravagant sensuality of his society portraits. Sargent's paintings, while realist in contrast to the fantastic art of aesthetes such as Aubrey Beardsley, appealed to young, rebellious Victorians. He gave his sitters flirtatious charm, languid eroticism and ambiguous gender - women masquerade as men, men are slim and refined. Subject: Ellen Terry (1847-1928) began her stage career as a child and grew up to become a Victorian sex symbol. In GF Watts's portrait of her as a teenager (at the National Portrait Gallery), painted in about 1864, she is seen as a beauty from a painting by Titian, in renaissance dress, hair loose and thick. Watts, 30 years her senior, married the teenage star. He wanted her to give up acting - they separated after a year. In 1879 she was invited to become leading actress in Henry Irving's company at the Lyceum.

Irving gave Terry her most famous Shakespearean roles, and an artistic reputation to go with her popularity. Distinguishing features: There's something outrageous about this painting: its imperious scale, glowing evil, fey colours - the blues and greens of some queen in Celtic legend, the twilight world in which Sargent imagines Shakespeare's Lady Macbeth. The painting pushes his realism to its limits, and flesh becomes fantasy. Terry is portrayed here not as an innocent flower of Victorian womanhood, but as a decadent icon of the fin de siècle. The portrait shares the luscious symbolism of French painter Gustave Moreau. Sargent's painting is a study of intoxication with power - Lady Macbeth raises the gold crown to her head, with its phallic braids - and Terry's intoxication with her role. She is lost in a netherworld of tragic evil and madness, eyes glazed and ecstatic. Sargent is depicting an actress in a Shakespearean role, yet turns her into a statue infused with divine energy, the glittering gold and each fold of her tight dress creating the sense that this is a sacred figure from an ancient temple.

And yet there is something ironic and knowing about the picture that stops it being a symbolist painting. It's infused with cool self-knowledge, even as it depicts Dionysian rapture. From the meticulous reality of the costume and a posed quality in Terry's gesture, we know this is not a real moment of self-loss. It's a painting of what theatre meant to people at this time, an evocation of Terry's power to inspire fantasy in her public. Inspirations and influences: Sargent's grand style in society portraiture has its model in the paintings of Thomas Gainsborough (1727-88), particularly mature works such as The Morning Walk (1785) in the National Gallery. Where is it? Tate Britain, London SW1 (020-7887 8008).

Drama and Desire: “Ellen Terry as Lady Macbeth” by John Singer Sargent | AGO Art Gallery of Ontario Drama and Desire: “Ellen Terry as Lady Macbeth” by John Singer Sargent June 22nd, 2010 John Singer Sargent’s Ellen Terry as Lady Macbeth is on display for a limited time at the AGO as part of the exhibition Drama and Desire: Artists and the Theatre . John Singer Sargent, Ellen Terry as Lady Macbeth, 1889, oil on canvas, Tate Britain Ellen Terry (1848-1928) was the greatest English-speaking actress of her day. “Miss Terry”, wrote artist John Singer Sargent, “has just come out in Lady Macbeth and looks magnificent.” Terry soon agreed to be painted by Sargent in a dramatic pose of the artist’s invention. “The picture is splendid,” commented Terry. “It’s talked of everywhere and quarreled about as much as my way of playing the part….

Sargent has suggested in this picture all that I should like to convey in my acting.” Ellen Terry, Queen of the Stage Terry’s London debut in 1888 as Lady Macbeth, in a spectacular dress decorated with beetles, sparked an unprecedented response from artists. Photos of this dress, and Terry wearing it, will be featured in the AGO’s installation. Coincidentally, the Toronto Public Library owns personal archives of Ellen Terry which have been borrowed for the exhibition. The dress was made from knitted wool and tinsel decorated with Jewel Beetles (Sternocera Aesquisignata). Mrs. Cosmyn-Carr, the designer, commented: “I wanted to make this particular dress look as much like soft chain mail armour as I could, and yet have something that would give the appearance of the scales of a serpent.” The AGO has borrowed a selection of Jewel Beetles from the ROM to include in the show. Ellen Terry and Toronto Ellen Terry regularly toured North America to great acclaim. With the London Lyceum Theatre Company she performed at Toronto’s Grand Opera House at least four times through the 1880s and 1890s. But all was not work.

“When we were first in Toronto,” she commented, “I tobogganed at Rosedale. I should say it was like flying! The start! Amazing!

A very nice Canadian man was my escort, and he helped me up the hill afterwards.” One Response to “Drama and Desire: “Ellen Terry as Lady Macbeth” by John Singer Sargent” Rita Lynham Ellen Terry as Lady Macbeth 1889 By John Singer Sargent - Oil Paintings & Art Reproductions - Reproduction Gallery Ellen Terry as Lady Macbeth 1889 By John Singer Sargent Ellen Terry as Lady Macbeth 1889 Artist: John Singer Sargent Size: 80 x 40 cm (31.5 x 15.7") Oil Painting on Canvas Choose Painting Size (Height x Width) Proportions will be maintained 80 x 40 cm (31.5 x 15.7") = $289 98 x 49 cm (38.6 x 19.3") = $354 116 x 58 cm (45.7 x 22.8") = $419 134 x 67 cm (52.8 x 26.4") = $484 152 x 7

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Recently Viewed: 'Ellen Terry as Lady Macbeth', John Singer Sargent, 1889 | Tate Ellen Terry as Lady Macbeth Ellen Terry as Lady Macbeth 1889 Support: 2210 x 1143 mm frame: 2500 x 1434 x 105 mm Collection Presented by Sir Joseph Duveen 1906 Reference Catalogue entry Display caption The famous actress, Dame Ellen Terry (1847-1928), is shown here in the role of Lady Macbeth. At the first performance in 1888, Sargent was struck by Terry's appearance and persuaded her to sit for a portrait . He invented her dramatic pose, which did not occur in the production.

Oscar Wilde, who saw Terry's arrival at Sargent's Chelsea studio, remarked, 'The street that on a wet and dreary morning has vouchsafed the vision of Lady Macbeth in full regalia magnificently seated in a four-wheeler can never again be as other streets: it must always be full of wonderful possibilities.' Gallery label, August 2004 N02053 ELLEN TERRY AS LADY MACBETH 1888–9 Inscr. ‘John S. Sargent’b.l. Canvas, 87×45 (221×114·5); painted strips 6 3/4 (16·5), 3 (7·5), 4 (10) and 2 1/4 (6) turned over top, right, left and bottom edges respectively. Presented by Sir Joseph Duveen (the elder) 1906. Coll: Purchased from the artist by Sir Henry Irving; sold Christie's, 16 December 1905 (144), bt. Wyatt for Duveen.

Exh: New Gallery, summer 1889 (110); Société Nationale des Beaux-Arts, Paris, 1890 (810); World's Columbian Exhibition, Chicago, 1893 (United States Section); 26th Autumn Exhibition, Liverpool, August–December 1896 (891); Dramatic and Musical Art, International Society, 1897 (124). Lit: Art Journal, 1889, p.191, and 1907, p.79, repr. p.80; William Walton, World's Columbian Exposition, Art and Architecture: The Art, 1893, I, p.16, repr. facing p.5; Downes, 1925, pp.27, 48, 151–2; Charteris, 1927, pp.100–1, 137, 223, 261; E.

Craig and Christopher St John (ed.), Ellen Terry's Memoirs, 1933, pp.233–4, 245, 247–8; Mount, 1955, pp.142–7, 413, 432; McKibbin, 1956, p.126; Mount, 1957, pp.121–4, 340. Repr: Wood, n.d., facing p.22 (in colour); Pousette-Dart, 1924, n.p.; Manson and Meynell, 1927, n.p. Dame Alice Ellen Terry (1847–1928), actress and third daughter of a well-known family of actors, is shown here in her famous part of Lady Macbeth, which she played in Sir Henry Irving's new production of Macbeth at the Lyceum Theatre, London, with Irving in the title role. Sargent was present at the first performance, 29 December 1888, and was immediately struck by the actress's appearance on the stage.

Miss Terry was reluctant to sit for her portrait until the play's success was more assured, but sittings seem to have begun very soon after the first night, as Sargent, writing to Mrs Gardner 1 January 1889, recounts how bad light impeded progress on the portrait. However, it was finished in time for the summer exhibition at the New Gallery that same year. The artist has invented a pose which shows Lady Macbeth about to place the royal crown of Duncan on her head. This incident does not occur in the play, nor has a study of the actress's prompt-books for Macbeth provided evidence that it was a dramatic invention on the part of Irving. The sitter's daughter, Miss Edith Craig, thought it a pity that such a misleading pose should have been adopted.

(Information supplied by Miss Olive Chaplin, Curator of the Ellen Terry Memorial Museum.) The gold-embroidered green dress worn by Lady Macbeth was designed by Mrs Comyns Carr and made by Mrs Nettleship, and in a long notice of the play printed in The Times, 31 December 1888, a critic wrote of Ellen Terry's unusually tender interpretation of the part that ‘her matted red hair, hanging in long tresses, and her ruddy cheeks mark her as a raw-boned daughter of the North and she wears an appropriate dress of garish green stuff embroidered with gold. There is nothing of the martial or adventurous spirit in her composition to bring her into harmony with her barbarous surroundings’ (quoted by W. Moelwyn Merchant, Shakespeare and the Artist, 1959, p.139). The Tate portrait, which Ellen Terry described in her Memoirs as the sensation of the year (1889), was bought by Irving for the Beefsteak Room of the Lyceum Theatre, where it hung in an alcove.

Before the picture was finished Burne-Jones, who greatly admired the work, suggested one or two alterations in the colouring, which Sargent immediately adopted (Ellen Terry's Memoirs, 1933, pp.234, 245). There is a grisaille sketch in the National Portrait Gallery (NPG2273, 33 1/2×28 in.) showing Lady Macbeth at the entrance to the Keep, ready to greet King Duncan. A pencil sketch (21 1/2×16 1/2 in.), done in 1906 for Ellen Terry's Jubilee Programme, belongs to the Ellen Terry Memorial Museum, Smallhythe, Kent.

Published in: Mary Chamot, Dennis Farr and Martin Butlin, The Modern British Paintings, Drawings and Sculpture, London 1964, II Ellen Terry's beetlewing gown back in limelight after £110,000 restoration | Culture | The Guardian Heritage Ellen Terry's beetlewing gown back in limelight after £110,000 restoration Dress actor wore as Lady Macbeth in 1880s has been repaired with help from donations to National Trust Ellen Terry as Lady Macbeth in the beetlewing dress: 'Is this not a lovely robe? It is so easy and one does not have to wear corsets.' Photograph: Guardian Close This article is 5 years old After five years and more than 700 hours of delicate restoration work, a green gown shimmering with the iridescent wings of 1,000 beetles, which caused a sensation when Ellen Terry wore it as Lady Macbeth in 1888, is going on display again. The dress, transforming the beautiful red-haired actor into a cross between a jewelled serpent and a medieval knight, was the talk of the town after the first night.

John Singer Sargent painted Terry wearing it, and the artist's neighbour, Oscar Wilde, recalled the impact of Lady Macbeth arriving in a taxi: "The street that on a wet and dreary morning has vouchsafed the vision of Lady Macbeth in full regalia magnificently seated in a four-wheeler can never again be as other streets." Another overawed male visitor to her dressing room recorded: "There before me was Lady Macbeth in the glorious robe of green beetle wings … Her face was wreathed in smiles, and almost the first words she said were 'Is not this a lovely robe? It is so easy, and one does not have to wear corsets.'" Men were bowled over by Terry, both on and off stage. Her third marriage came in 1907, to James Carew, her co-star on an American tour. She was 60 and he was 30. A letter just acquired by the National Trust, on display for the first time with the restored costume at Smallhythe Place in Kent, Terry's last home, records the media hysteria when news broke of her latest adventure.

She wrote to him from Smallhythe: "The horror of it all at first when I arrived in England by that ship!!! Oh dear love, dear husband I wished we had neither of us ever been born. About 50 reporters & photographers all at me!!! I fought! … flew into the railway carriage & pulled down all the blinds – with an enormous crowd outside the windows asking me to put my head out." By 2006 the fragile costume, preserved as part of Terry's spectacular collection of theatre memorabilia, was falling to pieces. Beetle wings were regularly found lying in the bottom of the display case. It had led a hard life, particularly given Terry's reputation for arriving late and dressing at frantic speed. Henry Irving's Macbeth ran for more than six months to packed houses, and the costume was reused on many later tours, crossing the Atlantic at least twice. It bears the scars of being trampled on by other actors, snagging on scenery, and tears from the spectacular jewellery she also wore on stage. The £110,000 cost of its restoration and re-display was met by donations to the National Trust.

Most of the money came from visitors to the chocolate-box 16th-century house, her favourite home, where she died in 1928. An antiques dealer in nearby Tenterden donated a box of jewel beetle wings – which the beetles shed naturally. The repairs proved as much costume archaeology as needlework. The dress arrived at the Brighton studio of specialist textile conservator Zenzie Tinker with a box of tattered pieces. She soon realised that she was dealing with the remains of two near identical costumes, presumably patched together when both were too badly damaged to wear. She has carefully removed the later additions, restoring the original Victorian appearance of the gown. Hundreds of broken beetle wings were repaired by gluing green-dyed Japanese tissue paper on to the reverse, and stitching them back into place. Terry was born into an acting family in 1847, first appeared on stage aged eight, and became one of the most famous actors of her day, equally admired for her beautiful voice, sensitive interpretations, and striking appearance – and followed avidly in the Hello magazines of her day for her tumultuous love life. She first married the artist G F Watts when she was 16 and he was 30 years her senior.

The marriage barely lasted a year but did result in some beautiful portraits of her. She had two children by the architect and designer Edward Godwin, who abandoned them. Her marriage to the actor and journalist Charles Kelly lasted four years, and she also had a passionate love affair with George Bernard Shaw, conducted entirely on paper. They were slightly disappointed when they finally met. The marriage to Carew lasted just two years. Her son by Godwin, Edward Gordon Craig, who became a renowned stage designer, is believed to have fathered at least 13 children by eight women. Terry died quietly in her bed at Smallhythe Place on 21 July 1928 – and as the death mask displayed at the house proves, beautiful to the last. Ellen Terry Photograph by Julia Margaret Cameron Ellen Terry Terrys linked to the Gielguds through marriage (see family tree ) Dame Ellen Alice Terry GBE (February 27, 1847 – July 21, 1928) was an English stage actress. She was born in Coventry, England in 1847 into a theatrical family headed by actors.

Of Benjamin Terry and Sarah Ballard's eleven children, five inlcuding Ellen, became actors: Florence, Fred, Kate and Marion. Two other children, George and Charles, were connected with theatre management. Charles was the father of two daughters who would also appear on the stage, Minnie and Beatrice. Photograph by Lewis Carroll of Ellen with her mother Ellen Terry married three times, and was involved in numerous relationships during her lifetime. In London, during an engagement with the Haymarket Theatre, Ellen and Kate had their portrait painted by the eminent artist, George Frederick Watts, and was impressed with the music, art and elegance of his lifestyle. She married him on February 20, 1864, shortly before her 16th birthday, when Watts was 46. Ellen gave up acting during her marriage to Watts but neither she nor her husband were faithful, and they separated after 10 months of marriage. The birth of her son, Edward Gordon Craig, in 1872, was the result of a liaison with the progressive architect-designer Edward William Godwin, with whom she retreated to Hertfordshire, again temporarily retiring from acting.

The liaison cooled in 1874, and she returned to her acting career. Ellen as Imogen Sir Lawrence Alma Tadema, R.A From 1874 she became the leading Shakespearean actress in London, and in partnership with Henry Irving became successful in England and the USA. She married 21st December 1877 Charles Clavering Wardell, an actor/journalist. In 1903 she formed a theatre management business with her son, abandoning her business partner Irving. She struck up a friendship and a famous correspondence with George Bernard Shaw during this time, and divorced from Wardell. On the 22nd March 1907 she married American actor James Carew. Late in her life Ellen Terry appeared in several films. Her Greatest Performance(1917), The Invasion of Britain (1918), Pillars of Society (1918), Potter's Clay (1922), The Bohemian Girl (1922). Illustration from Drury Lane programme, 1906 On June 12th 1906 a gala performance celebrating Ellen Terry and her work, was put on at Theatre Royal Drury Lane.

The cast of the Much Ado number was entirely made up of members of the Terry family, and the dance was arranged by her son Gordon Craig. Click here to see the original programme . Dame Ellen inspired many of the celebrated artists of that time to capture her on canvas, including the most successful portrait painter of that era, John Singer Sargent. As Lady Macbeth by John Singer Sargent, R.A. She became a Dame Grand Cross of the British Empire (GBE) in 1925. Her son, Edward Gordon Craig, became an important actor, designer, and director. He was married to May Gibson and had four children but his long term lover was the dancing legend Isadora Duncan. They had a daughter together, Deirdre who was tragically killed aged 7 by drowning in the Seine. Ellen’s daughter Edith Craig became a theatre director, producer, and early pioneer of the women's suffrage movement in England; her grand nephew, Sir John Gielgud , also became an actor. The singer Helen Terry, and illustrator Helen Craig are also descendants of hers. Her ashes rest at St Paul's, Covent Garden, London.

Question: Ellen Terry was painted by Lady Macbeth in a celebrated work by which artist?
Answer: John Singer Sargent